My surviving musical output (first half of it, anyway) from 1962:
I must have quickly decided that two-part counterpoint was too much work. I’d love to know, though, how seriously I meant that A-flat key signature in the bass. I’m sure I thought I should fill out the end of each line with rests rather than leave it blank. The piece ends with a V6-I cadence in whole notes. Seven years later, at age 13, I still didn’t know what a fugue was, but I embarked on a career in music with a tritone-filled imitation of the Bach inventions I’d been playing:
And four years after that, at the end of high school, I had not only discovered quartal harmony, but attempted (and maybe succeeded) to exhaust its fertility in a single piece, titled “Impacts,” which I played at my senior recital:
Note the fractional meter, an Ives inheritance. You’ll notice I kept lengthening my name – afraid I’d be confused with all the other Kyle Ganns around. Were time travel possible, I would go back to Dallas, August 1969, and tell the young me, “Kyle, I know it looks like fun now, and you imagine that people will pay favorable attention someday, but don’t even get started.” I surely would.